Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force stands as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art.

"People with a voice should employ it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared periods of mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him away from the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

This project itself functions with a different strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward think of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."